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Album Reviews

Alter Bridge

Alter Bridge

Pawns & Kings

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ALTER BRIDGE – PAWNS & KINGS – ALBUM REVIEW

What an incredible story Alter Bridge are when you sit back and think about it; forming from the ashes an enormously successful band, with a relatively unknown but highly talented singer, with said singer even later auditioning for Led Zeppelin.

That singer then joining the legendary Slash for a new project and the original act briefly reforming; and then both the singer and guitarist of this band pursuing very successful solo careers. There is even a Frank Sinatra covers album in the mix now, but throughout all this Alter Bridge have remained ever present and ever evolving.

Now regrouped again, the band have bestowed upon us their seventh studio album, ‘Pawns & Kings’. Despite all the distractions, this continues their record of a new album every three years having started that pattern with debut album, ‘One Day Remains’ back in 2004 – which is somehow almost twenty years ago!

During this time the band have delivered many hits and a few misses, but this album feels important. The band have established themselves in rocks arena filling ranks, but haven’t shown any measurable growth in a decade or so. Whilst charting reasonably well their previous two albums have met mixed reviews and it does seem like Alter Bridge need an injection of momentum.

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Alter Bridge – ‘This Is War’

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‘Pawns & Kings’ may well be just what the doctor ordered. Starting out fast, heavy and soaring, the band set the bar high with ‘This Is War’, ‘Dead Among The Living’ and ‘Silver Tongue’.

‘Sin After Sin’ and ‘Stay’ then demonstrate that evolution we mentioned. Myles Kennedy as a vocalist and Mark Tremonti as a guitarist are often ranked as amongst the best in their fields. In recent years the two have proven themselves well equipped in each other’s departments and on ‘Pawns & Kings’ the two show just how far their dexterity has come.

Throughout the second half of this album, Alter Bridge maintain the quality that has perhaps tapered off on recent albums. This isn’t a token effort with a handful of quality singles. This is an old school Alter Bridge album which shows the cohesion that made sophomore album ‘Blackbird’ such a success.

The story of Alter Bridge is truly unique and it’s a testament to the talents of those involved that this far into their career, even with multiple side projects, they can still deliver a album as magnificent as this!

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Read our review of ‘The Ides of March’ from Myles Kennedy

Read our review of ‘Marching In Time’ from Tremonti

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Album Reviews

October Drift

October Drift

I Don’t Belong Anywhere

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OCTOBER DRIFT – I DON’T BELONG ANYWHERE – ALBUM REVIEW

October Drift have spent the year slowly building towards the release of their second album. A steady stream of superb singles has signalled what was coming and now ‘I Don’t Belong Anywhere’ is here and fans are in for a real treat.

The band continue down the euphoric path they set with their 2020 debut ‘Forever Whatever’. That year of course was a show stopper for most bands and many new acts were lost to the pandemic.

Thankfully, October Drift have emerged not just intact but firing on all cylinders. ‘I Don’t Belong Anywhere’ is an incredible achievement considering the restraints in which it was written and recorded. The difficult past two years are referenced on tracks such as the hauntingly beautiful ‘Webcam Funerals’, but there is much more do dissect on this album.

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October Drift – ‘Webcam Funerals’

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‘I Don’t Belong Anywhere’ finds the band again in a reflective mindset but this time they are analysing the world around us. This is a sombre yet uplifting record packed with intensity and controlled ferocity. There are tender moments, brutally honest lyrics and a constant visceral sonic onslaught.

You can feel that the band has poured everything into this album, and that work pays dividends with a stunning collection of songs. Pre-release singles such as ‘Airborne Panic Attack’ and ‘Insects’ promised something great and ultimately October Drift have delivered something very special indeed!

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The Full Pelt Music Podcast – Episode 10 – October Drift

Read our review of ‘NULA’ from VUKOVI

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Album Reviews

VUKOVI

VUKOVI

NULA

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VUKOVI – NULA – ALBUM REVIEW

After more than a decade of scratching and clawing, momentum is finally behind VUKOVI as they release their third album, ‘NULA’. Both of this albums predecessors, 2017’s self-titled debut and 2020 follow up ‘Fall Better’ have felt like breakthrough moments only for momentum to stall.

In the aftermath of their debut, two members departed and soon after ‘Fall Better’ was released, the world stopped for the pandemic that derailed so many bands. Thankfully VUKOVI are one band that have made it through and have new music to show for it!

Top tier live shows and a slew of promising singles have rebuilt that all important momentum and now ‘NULA’ is upon us to surely push the band to the next level. The stars finally appeared aligned but there is one all important deciding factor remaining – is the album any good?

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VUKOVI – ‘LASSO’

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Ominous opening ‘DEPATURE’ instantly sucks us in and prepares us for the journey we are about to embark on. ‘TAINTED’ and ‘LASSO’ then lock the listener in and ensure they are going nowhere.

Musically immediate and fearless, ‘NULA’, feels like a statement in every sense of the word. Pre-release singles ‘SLO’, ‘I EXIST’, ‘KILL IT’ and ‘HURT’ all set what could’ve been an unattainable standard for the album as a whole. Thankfully the remaining tracks and the cohesiveness of the album manages to maintain and elevate that standard.

Whichever way you want to look at it this is the statement we suggest is it – sonically, thematically and in relation to the viability of the band. The album finishes with a statement of a song in ‘XX’ to really drive the message home.

What message? Well amongst other socially important ones, the fact that the time is very much now for a band long overdue sustained success!

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Album Reviews

Slipknot

Slipknot

The End, So Far

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SLIPKNOT – THE END, SO FAR – ALBUM REVIEW

There has always been a mystique surrounding Slipknot, from their early days as unknown masked maniacs through to present day’s constant speculation on their future. The latter was fuelled further by the title of their seventh album, ‘The End, So Far’.

This album signals the end of their working relationship with Roadrunner which started way back in 1998. The purposefully triggering title however will leave fans wondering what the future holds. Promotional tactic, genuine end in sight, or just fun and games, perhaps not even the band themselves know.

What we do know however is that we have just shy of an hour of new Slipknot music to sink our teeth into, and as demonstrated by interesting album opener, ‘Adderall’, we also know this will be another divisive album for fans old and new.

Bands the size of Slipknot almost always become a victim of their own success. For some they can do no wrong, for others they can do no right. The reality, as is usually the case in life, is often somewhere in the middle.

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Slipknot – ‘Adderall’

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‘The End, So Far’ is one of those albums. There are some stunning moments, some weaker moments, some songs built for their old school fans and some material so far removed from the realms of Slipknot that it may alienate portions of their fanbase.

Ultimately Slipknot have always been anti-establishment in terms of the music industry, and they remain so now even if they’ve become that establishment! Slipknot are going to do whatever they want to do and they’ve earned that right.

The question to ask here is perhaps if this (which is very unlikely) is the final stand of Slipknot, does this album do them justice. The answer is yes, there is more than enough quality on this record to ensure this isn’t in the bottom few of any ‘All Slipknot albums ranked’ lists.

Almost predictably at this point in their career, it’s also not going to trouble the top of that list; which brings us back around to that point of the truth often being in the middle! Fans just need to enjoy this album for what it is, and make the most of the band whilst they are still around.

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The Snuts

The Snuts

Burn The Empire

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THE SNUTS – BURN THE EMPIRE – ALBUM REVIEW

2021 saw The Snuts snag a surprise number one album with their debut, ‘W.L’. Since then the band has hit the road hard, touring all over and gracing plenty of festival main stages. If world domination isn’t their aim, then they may want to slow down!

Read our review of ‘W.L’ from The Snuts

That however is very unlikely to happen as the band return with sophomore album, ‘Burn The Empire’. This is a naturally important release for the band, and not just because of good old fashioned second album syndrome.

No, ‘W.L’, whilst a huge hit for the band was a collection of tracks from the bands career thus far, honed and crafted on the road. This is the band’s debut album in terms of writing and recording in a short period of time. This may then be the first true snapshot of the group’s talent and potential longevity.

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The Snuts – ‘Burn The Empire’

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Starting with the politically charged duo ‘Burn The Empire’ and ‘Zuckerpunch’, it’s clear that this also signifies a shackles off moment for the band. Having recently also called out their own record label, clearly The Snuts have no fear, and that’s refreshing considering the often maligned, play it safe culture in music these days.

The themes that run through the album feel particularly relevant right now and the band certainly get credit for their open and direct dialect. They also deserve credit for their musical bravery, showing a willingness to experiment away from the lad rock that has got them this far.

For a band to grow and evolve they need that willingness to experiment and can be forgiven for the odd misstep, such as ‘Cosmic Electronica’, which doesn’t quite hit the spot that they were no doubt aiming for.

All too often when bands have a highly successful debut, subsequent albums only require a hit or two to add to the bands legacy with the rest of the album often instantly forgettable. ‘Burn The Empire’ definitely provides a handful of hits to bolster the setlist, but whilst there is the odd tedious moment the rest of the album also holds up well.

This album will do exactly what it needs to do for The Snuts, as they continue their momentum towards world domination. We’ve needed a new breakout indie band for a while now, and don’t put it beyond this band to be the one to do it!

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Editors

Editors

EBM

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EDITORS – EBM – ALBUM REVIEW

Editors debuted the single, ‘Heart Attack’, back in April with the announcement of Benjamin John Power joining the band. New album, ‘EBM’ was set for release and a number of subsequent singles have hinted that Power’s arrival on keys, synths and electronics coincides with a focus on such from the band.

Born in the indie landfill mid-noughties, Editors always stood apart and above from their contemporaries by infusing an electronic element into their dark guitar-centric sound. Throughout the next decade or so they’ve continually evolved with the times and that has seen guitars and synths swap places in the mix.

What has helped Editors both grow their audience and retain their core following is that they’ve done so well with quality music at the forefront. They’ve never abandoned their beliefs for the glory of chart success, but have found chart success nevertheless.

The shift of focus almost fully into the world of electronics hinted at in the pre-album singles is fully borne out on ‘EBM’. This is now far removed from the all out indie rock of debut album, ‘The Back Room’. It helps that the transition has been gradual and not the instant transformation that many bands have tried and often failed to enact.

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Editors – ‘Heart Attack’

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‘EBM’ feels like an honest record from the band, in that this is clearly what the band want to be doing. Sonically this is Editors being themselves, after all they’ve never been the pandering type of band. For some of those indie rock fans that bought into the band early doors this may prove to be a step too far, but for those that have enjoyed the journey this is another collection of solid tracks.

Whilst some fans may be turned off, this isn’t a bad album. This also isn’t a great album. When you’re consistently unique, you eventually are bound to become generic. You either die a hero or see yourself become the villain. The tests of time will ultimately judge ‘EBM’ on Editors’ behalf, and I feel they are unlikely to be either cruel or kind. Again, when all your work is memorable, eventually parts of it become forgettable.

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The Amazons

The Amazons

How Will I Know If Heaven Will Find Me?

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THE AMAZONS – HOW WILL I KNOW IF HEAVEN WILL FIND ME? – ALBUM REVIEW

Reading rockers The Amazons are back with their third album, ‘How Will I Know If Heaven Will Find Me?’.

The band burst onto the scene with their 2017 self-titled debut and quickly established themselves as one of the hottest young rock bands in the country. Follow up ‘Future Dust’ was far from a flop, but probably didn’t build on their momentum as well as they’d have hoped. It will be interesting then to see how ‘How Will I Know If Heaven Will Find Me?’ fares and what impact it will have, if any, on the group’s career trajectory.

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The Amazons – ‘How Will I Know?’

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Making their name for out all arena rock anthems, this new record follows a path hinted at on its predecessor with a more melodic sound. Sombre and delicate, the harder side of the band only makes rare appearances as they explore their softer capabilities.

Whilst there will certainly be some fans slightly alienated by this, there will be many more that will welcome this change of pace; after all the band have successfully shown this side in past.

When we look beyond the aesthetics of the album, blinker ourselves from their past output and focus solely on the eleven tracks that make up ‘How Will I Know If Heaven Will Find Me?’, then we are looking are a superb record. A delicately crafted collection of melancholic glory!

Yes, The Amazons may be evolving before our eyes, but they are also proving themselves to be the future superstars that their debut album promised.

When we caught The Amazons supporting Royal Blood in arenas recently, we speculated that they would soon be headlining such venues themselves. With this album the band have ensured that trajectory remains.

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Ozzy Osbourne

Ozzy Osbourne

Patient Number 9

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OZZY OSBOURNE – PATIENT NUMBER 9 – ALBUM REVIEW

After a ten year wait between ‘Scream’ and 2020’s ‘Ordinary Man’, Ozzy Osbourne is already back with new album, ‘Patient Number 9’. This is something of a miracle given the ongoing health concerns surrounding the iconic rocker, so it’s with a sense of relief that we press the play button.

The title track and opening campaign single, ‘Patient Number 9’ starts us off and showcases the first of many guests featuring on this album in Jeff Beck. Zakk Wylde, Tony Iommi, Mike McCready, Eric Clapton, Josh Homme, Dave Navarro, Robert Trujillo, Duff McKagan, Chris Chaney, Chad Smith and the late great Taylor Hawkins all have credits on this collaborators dream of an album.

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Ozzy Osbourne – ‘Patient Number 9’

You may think that such an eclectic mix of stars would contribute to the album feeling disjointed and lacking cohesion. That would it turns out be an incorrect preconception as in fact the record flows well and is distinctively an Ozzy Osbourne record. That said each guest adds personal touches and influences and enables this to be some of Osbourne’s most diverse work.

The critical acclaim that adorned ‘Ordinary Man’ will undoubtedly bleed into ‘Patient Number 9’ with Ozzy Osbourne showing that there is life in the old dog yet.

The only possible criticism would be that perhaps at a little over an hour the record is a song or two too long, but ultimately at this stage of Osbourne’s career we should be grateful for everything we are able to get.

Question marks remain over his ability to tour again, but if ‘Ordinary Man’ and ‘Patient Number 9’ ultimately represent the finale of his distinguished career then Ozzy can enjoy his well earned retirement safe in the knowledge that his career finished as authoritatively as it began.

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Panic! At The Disco

Panic! At The Disco

Viva Las Vengeance

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PANIC! AT THE DISCO – VIVA LAS VENGEANCE – ALBUM REVIEW

Panic! At The Disco was a vessel for frontman Brendon Urie years prior his total custody of the moniker as an all out solo project. Recent releases have seen Urie fully embrace the spotlight and allow his ego to run untapped.

Often this is a bad thing, but in the case of Urie he possesses that flamboyance and je ne sais quoi that only a handful of musicians do. No matter the project or outlet he would naturally become the centre of attention, so in this case it’s only right to let that creativity and showmanship loose.

New album, ‘Viva Las Vengeance’, is everything that you’d imagine that it will be. To some that would be a bad thing, this is modern day Panic! At The Disco by numbers to many extents after all.

But importantly there is one sonic element that Urie has incorporated that helps keep things interesting and gives fans a taste of something a little different. That component is the outpouring of love for 70’s glam rock! This album is a love letter to T-Rex, Queen, Bowie et al, and Urie is able to pull it off with utter panache.

Panic! At The Disco – ‘Don’t Let The Light Go Out’

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The title-track, ‘Middle Of A Breakup’, ‘Don’t Let The Light Go Out’ and ‘Local God’ all lead the charge before the likes of ‘Star Spangled Banger’ and ‘God Killed Rock And Roll’ unashamedly and theatrically drive the point home.

Panic! At The Disco aren’t breaking any moulds these days, in fact they are something of a safe bet. Again, to some this is a boring and uninspired trend over recent albums, but others will argue if it isn’t broke then don’t fix it.

What is clear on ‘Viva Las Vengeance’ is that Urie is having fun, he is doing what he wants to do and for him that’s all that matters; and hey if doing so can keep him headlining festivals and playing the biggest arenas in the world then he’d be mad to change at this point!

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Yungblud

Yungblud

Yungblud

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YUNGBLUD – YUNGBLUD – ALBUM REVIEW

Few artists have the momentum that YUNGBLUD has right now. Having burst onto the scene in 2018 with his debut album, ‘21st Century Liability’, there has been no slow in pace since then with a new third self-titled album now upon us.

2020’s ‘weird!’ not just continued the impetus of ‘21st Century Liability’ but instead strapped a jetpack to this young musicians back. The question here then is does this third effort suffice to keep the train rolling?

Simply put, yes! Seemingly that momentum is relentless and YUNGBLUD is once again able to not just capitalise on his successes but fully build on them. His distinctive vocal presence ensures that all his work is easily identifiable, which almost allows some additional freedom to experiment musically.

Surrounded by talented collaborators such as WILLOW on single, ‘Memories’; YUNGBLUD is able to push boundaries whilst not alienating his pre-amassed and incredibly loyal fanbase.

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YUNGBLUD – ‘Memories’

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The snobbish gatekeepers of rock music will be disgusted to hear that this hugely talented musician described as the future of rock but whilst dinosaurs like Gene Simmons continue the tired trope that rock music is dead we need to evolve and unshackle ourselves from our preconceived notions of what rock music is!

The difference between YUNGBLUD and some of the posers that have trod this path is that he has the musical substance to equal his powerful aesthetic. He achieves his admiration through a total package and that sets him apart from many of his contemporaries.

This self-titled album is exhibit number three in the case for YUNGBLUD as the future of rock, and the jury are ready to return their verdict of guilt!

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